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What grabbed the eye was the sleeveless purple silk crepe sheath made for Mrs. Obama by Maria Pinto, the former Geoffrey Beene assistant who has long been an Obama favorite. Simple in silhouette and, at about $900 retail, not the kind of garment most working-class voters can reasonably aspire to, the dress was immediately subject to water cooler dissection.
i helped paint this dudes loft
on collectible architecture
People Who Buy Glass Houses
ARE ARCHITECTURAL LANDMARKS A GOOD REAL-ESTATE INVESTMENT?
By Daniel Gross
Valuing Modernist Architecture MARKET MOVERS by Felix Salmon
project gutenberg architecture (bookshelf)
corrugated tin available with no rust to various stages of rust
236
George Nakashima
Grass-Seated Chairs, pair
USA, c. 1955
American black walnut, woven sea-grass
24 w x 20 d x 27.5 h inches
Estimate: $500–700
nyc neon
CHANGE = CHANEL
Many designers have waxed admiringly about Barack Obama’s sophisticated typographical design scheme, particularly the consistent use in much of his graphic material of the typeface Gotham, designed by Tobias Frere-Jones. So I called Brian Collins, an expert on branding, to get his thoughts on what this “good design” means for the candidate.
[...]
Louise, (comment #4),
it’s not so much Pepsi as a direct take-off on Chanel!
Seriously!
The reason it was so affordable a half century later, however, was its condition. "I basically had to completely redo everything to the outside," Diao said, "and the kitchen."
He and his wife settled into a pattern of heading up to Dutchess County property on weekends and staying in the separate studio, with its own wide set of windows, from which they could look out on the Breuer structure while putting guests in it, or even renting it out.
But after Wright had success auctioning off another Modernist home in late 2006, and with Christie's having achieved some eye-opening sales as well, Diao figured that might be a way to make a healthy profit or at least get his investment back. So they set the estimated price from $1 million -- "the break-even point," he said -- to $1.5 million, then got a bid at the low end during the phone-in auction conducted out of Chicago.
"Then the guy who actually bid on it never saw the house until the following week," said Diao, who believes that the would-be buyer had not told his wife what he was doing.
Today, after being one of the biggest boosters of the auctioning of such houses, Wright rattles off a series of practical obstacles to what he now downplays as a "very small trend." In a traditional real estate transaction, he notes, the buyer has equal power to the seller, if not more, while in an auction the terms are basically set in stone by the seller. Another hitch is how buyers have to pay the substantial auction house premium in sales done this way, whereas regular real estate commissions are part of the sales price. Then there are the little ways in which buying a house is different from buying a sculpture, "the maintenance, the property taxes, checking for radon gas . . . timing of the closing . . . what are the fixtures?"
"A real estate transaction is a far more complicated transaction," summed up Wright, who isn't sure whether he will try to sell another home this way.
Where does that leave the Breuer house with the aluminium trailer tucked under it?
It's still for sale, Diao reports -- but through a local real estate agent. And for $1.5 million, "$1.488 million, actually."
Diao does not sound bitter about the experience, however, and even recounts one side benefit -- on his paintings. Modernist homes started finding their way into his works.
One highlighted the Modernist houses in New Canaan, Conn., to protest how some were being demolished. Another of his paintings was influenced by Philip Johnson's famous Glass House in that community. Diao was fascinated to learn how the rug there kept getting smaller every time it was cleaned, and also how Johnson was so anal about where the furniture should go, specifying the positioning in blueprints.
His painting thus showed a sequence of images, "beginning with the rug in the original position. And in the last frame the pieces of furniture are all on top of each other because the rug has shrunk so much."
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1937 gmc rat rod at idle
AI '06
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It was the culmination of nearly a decade's worth of Eliasson's "immersive environments," as he calls them, many re-creating the effects of natural phenomena, like rainbows or solar eclipses, within museums and galleries. His was an art, coming from afar, that spoke to nature-starved urban sophisticates whose only contact with waterfalls or moss might take this highly mediated form. But it also reached out across class and geographical divides, using perceptual conundrums to dislodge received certainties about our relationship to art, our bodies, and our environment.
too too and too much information
crazy redneck